Painting Around in Circles

Commission in progress 30x40 oil on canvas

Happy December everyone! This past weekend we had some nice sunny weather but tonight we’ve have an arctic cold front moving in.  As much as I’d like to get some holiday shopping done this frigid weather sounds ideal for putting finishing touches on this autumn inspired commission painting.

This is panel 2 of 3. Each “panel” is 30x40 and these have been a joy to work on—I’ve especially enjoy mixing the colors. Speaking of color, I decided to change up my color mixing routine (and when I say routine I mean like 20+ years!) for this series.

Quite simply (and intuitively) I switched to a larger circular palette. Technically I drew a large circle on a rectangular foam core board covered with plastic (paint drop cloth from Home Depot). You could also use a pizza pan or cut something into a large circle. I plan to have some foam core cut into a circle and use a large pizza box for the cover. This should work quite well.

I've used a circular palette before (the Quiller is one of my favorites for watercolor)  but like many artists for oils I’ve usually used the standard rectangle 12x16 plastic covered palette. Which is handy for pets, classes, etc. Even my small handheld palette for figure painting was a rectangle.

But I’ve found mixing in a circle even easier- I can see why it’s the preference for many artists. It feels very organic and natural. Plus, mixing color complements across the wheel is a snap. 

Since white is not one the color wheel, I’ve been putting the white sometimes in the middle and sometimes to the side. Both seem to work fine. So if you haven't painted in a circle give it a try and let me know what you think!

Before I go: Special thanks this time of year to my collectors and of course my students who continue to paint with me during a busy season.  Wishing you all a happy and colorful holiday season!

Challenge Day 29: Two for One Sunday

"Carol's Colors" oil study on Ampersand Gesso Panel 8x10

Focus and time limits - works for me. Small size canvases are also good tools to increase focus. (Liz Reday)

I had a really easy decision for my second to last day of the painting challenge this morning. Thankfully Carol Marine offered up this gorgeous sunlit autumn leaves photo for this week’s DPW painting challenge.

I rarely use photos other than my own but I just loved the glow of the leaves and colors in this. My other Sunday goal (allowing me some Broncos game time) was to “get in and get out” and do this 8x10 study in under two hours.

This required some upfront planning but can definitely save you painting time in the long run.  First, I took a few minutes to crop the photo reference. Selecting my own composition helps me not only familiarize myself with the subject but also gets me thinking about the painting before I start.

Next, I grabbed an already warm toned  8 x 10 Ampersand Gessoboard. While I usually prefer the tooth of linen or cotton panels, I find loose and fast brushstrokes work well on this smooth hard surface.  

My other tip is that in general fast=keep it simple. For example, I used just three transparent primary pigments and white. This not only enhances your color harmony but it makes color mixing decisions much easier.  Here my three oil paints were ultramarine blue, Indian yellow and alizarin crimson. (Note : Thalo, lemon, and permanent rose would have been an interesting choice here too.)

Another key factor is what I like to call painting “mise en place.” You may have heard chefs use this term in a busy kitchen. It basically means your initial organization and "everything in its place." This prep helps ensure that your painting time stays on track.  

Finally, thanks to everyone who has taken the time to stop by and comment in September--I greatly appreciate all your interest and support during the challenge!

The Passion Sandwich

Autumn Oil Paining Commission in Progress (30x40)

One person with passion is better than forty people merely interested. (E. M. Forster) 

While I continue to paint this large autumn leaf inspired oil painting (in progress for a client) yesterday morning I was listening to the Artists Helping Artists interview with award-winning California plein air artist Ken Auster.

Ken offered many helpful insights but one really struck a chord. And that’s the importance of the “passion sandwich.”  In a nutshell, it’s the benefit of separating the intellectual aspect of painting with that pure joy and passion stage.  Perhaps summed up in a simpler 3 word motto (which I quickly taped up by my easel):

Think

Create with Passion & Joy!

Think

Or Plan. Paint. Fine Tune. You get the idea. This makes sense and should be relatively easy. But what I witness often for painters of all levels (myself included) is the tendency to rush to the painting process too quickly with little or no forethought or understanding.

Now, I’m all for unbridled enthusiasm in the studio. But what happens when we paint without some planning? And all the passion, excitement, and creative may come to a grinding halt.

Or maybe we did do some planning (like a value sketch) but while we are in the middle of the creation phase we are still "second guessing" ourselves. Each time we hit the pause button we have to ramp up again.

This “stop and go” pattern may work for some artists but I agree with Ken. I think we’ll have a more productive and pleasant painting experience if we try to protect our passion and joy by bookending our  planning and evaluation.

I can tell you I've tried to stick to the "passion sandwich" diet during this painting. And so far it’s worked really well. For example, in the first "think" step I painted an mostly transparent acrylic underpainting where I worked out some design issues before I switched to oil paint--making the create stage much easier and quicker. 

P.S. For those of you getting ready to join in Leslie's 30 in 30 challenge (see her tips for doing the challenge if this is your first time) tomorrow I want to wish you all happy and passionate month of painting!